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This is from the road into (or out of Diamond, in the Diamond Valley, in remote south eastern Oregon. People often talk of visiting the town of French Glen or going up Steens' Mt. Both of those places are lovely, but for tranquility and suspension of time nothing is like the Diamond Valley. French Glen may even have a population of 12...Diamond is only 4 and if the new baby arrives today it will be five!When I make this trek to paint or photograph for future paintings I feel I am where I ought to be.

Vicki and I are on year two of our quest to represent the rural lands of Central and Eastern Oregon Having just spent some time in Diamond, Oregon, I am thoroughly convinced this is my version of Heaven. While this series is supposed to be an accurate portrayal of the people and the land of the west as it is in our part of the west, and not a romantic version of some mythical western scene (no stage coaches, or Indians in headress looking out over a vista) it is hard for me not to feel romantic about this particular valley. It is so hidden from all, and so lush and wonderful. Greg and I spent some time at a roundup and branding of long horn cattle, and then had lunch with one of my favorite ranchers, a 90 year old woman. Does it get any better than this?

The 48"x78" painting is finished! (Well, at least until I go up the studio and just have to add a few more touches.) It has been a lot of fun, so I think when this one is sold I will taken on the challenge again. I am finding aspens and birch trees a lot of fun to paint...at the same time discovering 3 dead aspens in our mini grove. I guess these paintings will be a tribute to them. Darn, they were about four stories tall and while we have others and lots of new shoots, none that magnificent. Well, for everything there is a season.

This painting started out a labor of love...and became a tar pit. Finally, I took it to my critique group. They saw what I didn't and after MANY adjustments,I am once again reminded of that beautiful day between Madras and Maupin, Oregon!

This large painting (48x78") has taken on a life of its own...I am really enjoying this. I think it is the general simplicity of the forms and also the contrasts. I am not approaching it in my regular style, either...a lot of that is influenced by the really large brushes I am using and also by giving myself permission to just hint at the shapes and colors of the leaves in the background.
Now that the painting is 90% done, I am going to let it rest for a day or so, and come back to it with fresh eyes for the final touches..went up the the studio tonight and realized i need to soften the hills in the background. But i will resist painting right now...or likely even tomorrow.

Well, I am working steadily on this painting...this is the painting as it was yesterday...still in the undercoat phase...still a lot of territory to cover. Establishing values and style. This will not be a typical (for me) landscape...a little more hard edge, with less local color...but it is great to work with these large brushes.

Day 1 I toned the canvas with a mixture of Alizarin Crimson and Cad orange...and blocked in the structure. Then a couple of full days of underpainting, establishing darkest darks, and lightest lights and mid tones.

My framer had a huge frame up in his storage loft...large enough for a 48" x 78" painting. That same week I got an inquiry from an out of town gallery regarding large works...really large. My biggest work was a 40 x 40 and a couple of 30x40 paintings...so I have likely missed a chance. With that in mind, (and a deep discount on the frame) I took the challenge...now I am covering a lot of acreage, and it is a lot of fun. will try to remember to post the interim phases of this giant!